The artist's name on the poster is not indicated. By assigning Artist Unknown to a poster it also could mean the artist used a chop mark whereby no signature is seen thus rendering the artist's identity anonymous.
The A.F. Marks'' Partnership Artistic Printing Office was located in St. Petersburg at 29 Izmailovskii Avenue. Founded in 1881 by the printer and publisher, Adolf Fedorovich Marks (1838-1904), the firm published the weekly journal Niva in addition to other literature. In 1916, Moscow publishing mogul Ivan Sytin purchased a controlling interest in its ownership. The Partnership was nationalized (in late 1920) and placed under Gosizdat, the state publisher. In 1922, the printer was placed under Petropechat', a state-owned trust created in the early 1920s to aid in the centralization of the printing industry. Thereafter, it became the 26th State Typography Workshop named for Evgenii Sokolov, a St. Petersburg-based printer and Russian Revolution participant who died while on a military assignment for the Red Army. By the late 1920s, the Communist International published their multilingual journal at the 26th State Typography.
The People's Commissariat for Education (Narkompros) was formed in 1918. Education in the USSR remained under the Commissariat until 1946 when it was re-positioned as the Ministry of Education. Narkompros encompassed the former Imperial Ministry of Public Education, the State Education Committee, and the former Palace Ministry, an entity that managed theaters and the Academy of Arts and the royal palaces. Narkompros was first headed by Anatoli Lunacharskii, an art critic, author and a journalist. He supplanted Sergei Oldenburg, a noted “orientalist” and Tsarist Minister of Education. Overseeing Narkompros was the All-Russian Central Executive Committee (VTsIK) and Lunacharskii happened to be one of its elected members. Narkompros was divided into sections dedicated to: eradication of illiteracy, professional education, adult education, theatrical studies, among other divisions. There were also censorship offices (referred to as "control") to scrutinize publishing, live performances and public speeches in order to protect the government and the masses. While Narkompros was concerned with education, Proletkult (proletarskaya kultura) was supposed to be the creative overseer of the “proletarian” society. Accomplishing little more than disorganization and infighting, the Central Committee of the Bolshevik Party brought Proletkult to heel by assigning its duties to Narkompros in 1920 thus strengthening the Commissariat's sphere of influence.